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Swisse Manuka Honey Detoxfying Clay Mask ~ 70g ~ 7-14 Days Arriv

$9

Swisse Manuka Honey Detoxfying Clay Mask ~ 70g ~ 7-14 Days Arriv

|||

Item specifics

Condition:
New: A brand-new, unused, unopened, undamaged item in its original packaging (where packaging is ...
Size:
70g
Country/Region of Manufacture:
Australia
Type:
Cream Mask
Brand:
Swisse
Skin Type:
All Skin Types
UPC:
9311770603935

Swisse Manuka Honey Detoxfying Clay Mask ~ 70g ~ 7-14 Days Arriv

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Last 50 reviews
Studio Album, 1972
3.95 | 493 ratings

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Ege Bamyasi
Can Krautrock

Review by Uruk_hai

Review #197

I was nicely surprised when I found out this album was included in the most recent edition of Rolling Stone Magazine's list of 500 best albums of all time, so it was Yes' "Close to the edge" but so it was Daddy Yankee's "Barrio fino" so, as always, Rolling Stone Magazine can't be taken seriously; however, it was a nice surprise to see "Ege bamyasi" on the list, even when it is probably the last of their albums that I would include in such list.

This is not a bad record, it is important to clarify that, the songs included in "Ege bamyasi" have very nice jammings but this is not on the highest level of their creativity as "Tago Mago" was, the same amount of songs in half of the LP's tells us how brief and, I'd dare to describe as, incomplete the songs are.

Further than "Vitamin C" and "Spoon", the songs on this record are totally average, not bad but definitely not unforgettable masterpieces; the classic Krautrock patterns are present on the whole release but with a tremendous lack of experimentation. Anyway, this is not as poor as "Soundtracks" since in here the songs are full tracks. Very entertaining album but not indispensable at all.

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Studio Album, 2021
4.00 | 1 ratings

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Solar Paroxysm
Mare Cognitum Experimental/Post Metal

Review by Necrotica
Collaborator Prog Metal Team

— First review of this album —
I've long been fascinated with records that explore the sounds of space from an extreme metal point of view. There's an inherent excitement to basking in an expansive atmosphere while being bombarded by aggressive guitar work and pummeling blastbeats, as bands like Blood Incantation and Mithras have definitely proven. No matter how intense the music gets, there's something strangely soothing and dreamlike about it; it's almost as if the music could threaten to become background noise if you're not paying enough attention. But much like the aforementioned bands, Mare Cognitum - consisting only of California native Jacob Buczarski - brings just the right amount of musical variety and neat embellishments to (mostly) avoid the pitfall of overt repetition. The fact that Solar Paroxysm has no song under 10 minutes might seem like a doozy, but believe me: this album flies by very quickly.

Every song here is a mini-epic rife with the tropes you'd typically hear from a progressive/atmospheric black metal project: long tremolo-picked passages, layered wall-of-sound instrumentation for that "vast" soundscape, and of course the harsh shrieks to top it all off. There's a remarkable sense of progression in these tracks despite the album's often long-winded nature, largely due to the fact that most of them come from a similar beginning. The majority of the tracks kick off with a familiar tremolo/blastbeat-driven base, and while that does make the intros a tad predictable, it allows Buczarski to use them as a launching pad to fly off in whatever direction he sees fit. Opener "Antaresian" opts to settle into what I could consider a "funeral waltz" using increasingly progressive 3/4 and 6/8 chugs before climaxing with a beautifully melancholic solo; meanwhile, "Frozen Star Divinization" is a long showcase of mesmerizing tremolo guitar harmonies, almost as if they're locked in a never-ending duel in the middle of a wintry tundra. "Luminous Accretion" is probably the most technical song on offer, constantly shifting tempos and riff patterns while giving the drums a serious workout; finally, "Ataraxia Tunnels" is probably the most traditionally black metal-oriented track here while maintaining the sense of atmosphere that defines the rest of the album.

"Terra Requiem", however, doesn't fit quite as nicely on a stylistic level? and that's because it's the best song on the record. Most of it is played at a snail's pace and really gets at the heart of this record's dark take on a cosmic sound. The tremolo harmonies and double bass drumming are still prevalent here, just used to color a more funereal and despair-filled picture. Everything comes together beautifully in the middle of the song, as the keyboards soar above the melodic guitar solo; it strikes a brilliant balance between awe and hopelessness that I haven't heard in quite some time. Speaking of the "picture", the lyrics of Solar Paroxysm are very appropriate to the music as well. It's your typical vaguely space-y imagery, but there are some pretty cool stanzas nonetheless. Whether or not you will enjoy Solar Paroxysm will probably depend on your tolerance for the familiar tropes Mare Cognitum often employs to flesh out his sound. It's true that nothing on this album breaks much new ground for atmospheric black metal, but the quality lies in how it's executed here. The songs, while often starting the same, eventually lead us to incredibly neat locales by the time they're done because of Buczarski's adventurousness with this well-worn genre. Solar Paroxysm is my first experience with Mare Cognitum, and it looks like I have one hell of a back catalogue ahead of me if this album's any indication.

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Studio Album, 1971
3.97 | 720 ratings

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Tago Mago
Can Krautrock

Review by Uruk_hai

Review #196

I am deeply sad of seing how underrated this truly masterpiece is in ProgArchives; if you go right now to this website's TOP 100 you're not going to find "Tago Mago", not even if you use the filter of only albums from the seventies, but, to be fair, not only "Tago Mago" but the entire Can and Krautrock discography in general is absolutely underrated, what a shame.

I do believe this is a remarkable album: after Malcolm Mooney left the group and Damo Suzuki took the role of the definitive singer of the band, he definitely put a very unique touch to the style of the group. While the musicians (Jaki Liebezeit, Irmin Schmidt, Holger Czukay and Michael Karoli) worked on creating the most acid and experimental musical passages, Suzuki provided the group with a very relaxed but still firm way of singing.

The album starts with "Paperhouse": a seven-minute very relaxed track (at first) that works as a great opening, at around minute three, the rhythm starts to go faster and stronger, only to make a drastic change when the second piece starts. "Mushroom" is probably the slower piece on the album, the music relaxes itself a bit after the end of "Paperhouse", Michael Karoli's guitar is hypnotic on this track. "Oh yeah" is a very fast piece based on rhytmic drumming, Damo Suzuki brings originality to the piece with his native Japanese lyrics.

The B-side is the first of three long acid pieces: "Halleluhwah", which is a very funky piece with unstoppable drums, similar to their first long epic "Yoo Doo Right" but with a much more moved rhythm. The C-side of the record includes only "Aumgn", the longest track on the album, this piece includes very folky acoustic arrangements with percussions at the beginning, similar to some Amon D��l II pieces, then it changes to an absolute mantric piece full of the incessant Aumgn mantra repeating itself until reaching a very obscure ambient closed with very aggressive drums at the end.

On the last side of the LP there are two pieces: "Peking O" and "Bring me coffee or tea". "Peking O" is pure psychedelic madness, not at all similar to anything else I've heard. The album reaches its climax with this extremely chaotic piece. "Bring me coffee or tea" is a very relaxing way to close such an energic album: it is a track mostly based on acoustic guitar and quiet percussions.

This album has it all that is needed to be considered a full masterpiece of Progressive Rock music: excellent drumming, guitar solos, strong bass lines and lots and lots of unprecedented experimentation.

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Studio Album, 2004
3.97 | 7 ratings

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Hokrova Vila
Hokr Eclectic Prog

Review by Mellotron Storm
Prog Reviewer

HOKR are a four piece band at this point with vocals, keys, bass and drums but we do have guests adding sax on 5 tracks and cello on 4 songs along with guitar on the closer. This was released in 2004 and it clocks in at 68 minutes. These guys are from the Czech Republic and have been around since the late seventies so they know what it's like to have their concerts shut down and be harassed by the government. The vocalist sings in his native language and he's awesome, so theatrical with a strong, deep voice. The sax/vocal parts bring VDGG to mind while the cello/vocal parts hint at THE PLASTIC PEOPLE OF THE UNIVERSE. I do prefer the next album with pretty much the same lineup but under the name POCOLCO and it's called "Sulcu Porce" from 2007.

The keyboards are of the nasty and in your face variety when the cello or sax aren't leading the way. Again the vocals certainly dominate when they are in play. And of course they open it with an instrumental called "Tomcat" where the keys pulse while drums and bass support then the cello comes in over top. "The Look Of A Liar" is a heavy tune with sax and vocals leading the way, organ too and a lot of counter point. "Skin Lotion" has a repeated vocal section that makes me laugh. Not sure if it's supposed to be funny. "Mouse In A Trance" is a top three track for me. I just love the way it changes flavours especially the trippy section. Is that distorted keys after 2 minutes? Nasty! Organ solos late as the tempo speeds up.

"Voice Of WC" is very VDGG-like while the next tune "Who Rules Over The Stains" is another top three. It's dark and quiet to start with distant beats just before a minute. Lots of atmosphere. It really kicks into gear with yelling vocals, sax, distorted keys and more as they amp it up. My final top three is the next tune "Sorrow Of The Deflowered Virgins" where we get cello leading early then organ but the bass sounds the best on this one. It does brighten later but I prefer the earlier sound.

"A Dumb Ass In Love" has an interesting combination of sounds with the upfront drums, distorted keys and cello. Organ to the fore later as the cello slices away. "In The Yard" is pretty hilarious with those chicken clucks early on. Not big on the rest of the song. "Falacy No. 64" is the longest tune at over 9 minutes. Drummer puts on a show early as the organ helps out. This is fairly slow and dark. The pulsating organ before 3 minutes brings GENESIS to mind. It settles right down with spoken words. It turns fuller and how about those extreme yells. More of those on the next track "The Whip". Love the dual vocals on the closer "The Cell".

A very solid 4 stars for this powerful recording.

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Studio Album, 1981
4.13 | 2073 ratings

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Discipline
King Crimson Eclectic Prog

Review by Gallifrey

Listening diary 10th January, 2022: King Crimson - Discipline (new wave/art rock, 1981)

My appreciation for King Crimson is near endless. My enjoyment of them is mixed, at the best of times. This is another perfect example. This isn't just creative, it's one of the most downright bonkers sounds I think I've ever come across, particularly for its era - the reinvention of Robert Fripp's insane guitar skills as some kind of afrobeat Talking Heads- esque dance rock is a hell of a turn. In different parts of the album he finds ways to make the guitar do things that had never been heard at the time - you can hear math rock, post-rock and even prog metal all over this album.

And for about half of it, there are some genuinely great moments beyond the sheer genius of the sound. Adrian Belew does a hell of a job on vocals, particularly on the heartfelt "Matte Kudasai", and there are some very memorable hooks throughout it - I find myself shouting I WISH YOU WERE HERE TO SEE IT at inopportune times on the regular these days. But the drawback for me here is just how clinical most of this is - barring a couple of vocal-led bits of passion, this is probably the coldest and most emotionless Crimson have ever sounded, unless you count weird dance feelings as strong emotions. I love this from an academic perspective, but I only really like half of it from a pure enjoyment perspective. Still, it's an essential record and one that anyone with any interest in the guitar as an instrument must hear.

7.0 (6th listen)

Part of my listening diary from my facebook music blog - www.facebook.com/TheExoskeletalJunction

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Studio Album, 1978
4.04 | 1252 ratings

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Heavy Horses
Jethro Tull Prog Folk

Review by DangHeck

As I prepared to listen to Heavy Horses for the first time ever, I reflected on that it is the follow-up to one of my favorite Tull releases, Songs from the Wood (1977). And seeing its rating here, comparable in (potential) quality to other favorites, namely A Passion Play (1973) and Minstrel in the Gallery (1975), I was pretty excited to finally give it a chance. And perhaps this chance is, for me personally, quite timely. I've really opened up to quite a number of bands that even still aren't necessarily favorites, but those in which I've always had some level of appreciation. Jethro Tull, being there in Prog effectively from the beginning, is certainly one such band.

The album opens with the classic track "...And the Mouse Police Never Sleeps", heavy with sharp Anderson- fluting and intense synth. Really an excellent track. And then I was off into the great unknown... haha. Glad to say Jethro Tull was never a band that truly 'scared' me.

"Acres Wild" is a classic Euro-Folk Rock song. One thing I was looking forward to was that it's the first of two songs featuring then-once-CURVED AIR founder/violinist Daryl WAY (the other being the title track). Interestingly enough to me, this Way feature was the same year as his on PIERRE MOERLEN'S GONG Fusion classic Expresso II. I find the track is nicely juxtaposed by the stronger "No Lullaby", more a Heavy Prog song. Darker brood, as we know Tull to deliver. But also more an [mini-]epic! Ultimately, it was also merely 'Good' haha. I don't know what could have made it more. "Moths" offered nice melody, but not much else.

"Journeyman" reminded me, in riffage, of something off perhaps Free Hand [and perhaps The Power and the Glory] by GG. A compliment, for one thing. "Rover", also strangely GENTLE GIANT-esque in its 'more' (I am The Maximalist haha), is a welcomed turn for me. Here, flute and what sounds like but is apparently not vibes are paired atop mostly acoustic guitar and Anderson's gruff vox.

Another welcomed track, a return to theme(?), "One Brown Mouse" definitely has it going on. Certainly if there are highlights that should be heard by [fellow] Tull skeptics, I hope they can take note. Great melody (not unlike "One White Duck" to my ears) and great performance. As I say often, no shock here. And finally to the mini-epic "Heavy Horses" , great melody and composition truly ensues. Drums, flute, guitar and keys alike, and in tandem, are all highlighted beautifully (even Anderson has one of his strongest, more traditional vocal performances). Haven't been wild about the production choices throughout (it's at least functional for a band like Tull), but it works best on this track methinks. The triumph in the middle section is awesome! I think in a pleasant surprise following my other new faves, this one takes the cake! And having wrapped it up I realized I did know the chorus from... somewhere sometime haha.

And I guess, sorry, bound to be disappointed after that track: "Weathercock" was indeed a song. "Living in These Hard Times" must be referring to the goddamn Dark Ages lol. Renaissance Euro-folk thing. Whatever. And lastly, "Broadford Bazaar": beautiful, but certainly no highlight.

Overall, a very pleasant listen and just glad I finally got to hear it (glad for the push). Pressed to rate higher and certainly at one point expecting more from the album (specifically the backend), but...

True Rate: 3.5/5.0

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Studio Album, 2022
2.00 | 1 ratings

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Pike 303 - Castle of Franken Berry
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

— First review of this album —
BUCKETHEAD's first PIKE of 2022 has taken some inspiration from the awful sugary monster breakfast cereal that has those sickening sweet artificial strawberry flavors mixed with those foodlike substances called marshmallows. CASTLE OF FRANKEN BERRY is the 303rd PIKE installment released on the 11th of January, 2022 and features the chicken lover pulling his usual shtick of playing all the instruments.

This one clocks in at just over 27 minutes and features only two tracks. The first is the near 19-minute "Enter The Sky Walker" which features a long drawn out bluesy hard rock approach. Sounding something like an instrumental early 80s AC/DC track with more 70s hard rock blues licks added in from time to time. This is one of those repetitive by the numbers type tracks with a time length that doesn't justify the ideas presented. Sure an atmospheric breakdown here and there but overall a lengthy instrumental jam that provides decent background music but not very interesting particularly if you're like me and have heard every album BH has created.

The title track is much shorter at 8 minutes and 19 seconds. This one is much heavier jumping into metal territory. Faster tempos and more crushing riffs start it out but then it sort of loses a bit of steam but offers a lot more variety in the first two minutes than the tedious opener does. This one showcases a lot more of BUCKETHEAD's riffing prowess at high speeds. There's a thrash metal quality to the riffing styles but doesn't really go full on thrash with the drums and bass. Come to think of it this entire PIKE is missing some of the background atmospheric touches that many recent PIKEs have employed. This one is a lot more interesting than the first track but still a little too long for what it has to offer however if you really dig these chunky riffs than why not have an extended version?

After 2021's final PIKE which was my favorite in a long time, this one is a bit of a let down. While the second track is quite enjoyable, the first one just feels a bit underwhelming for my tastes and considering it's 2/3 of the PIKE, the entire PIKE experience is somewhat lessened for my listening enjoyability. Fortunately nothing about this PIKE reminds me of the artificially flavored crap breakfast cereal that has been poisoning children for decades! While BUCKETHEAD proves he can continue some great riffs on his first PIKE of 2022, unfortunately he also showcases his inconsistency in quality and lack of creativity. Good album. Nothing more.

2.5 rounded down

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Studio Album, 1975
4.30 | 1028 ratings

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A Night At The Opera
Queen Prog Related

Review by WJA-K

Queen has always been one of my favourite bands. And A Night At The Opera is the pinnacle of their career.

It has a lot to like. Some of the tracks are the best they ever made. It's an eclectic album. A lot works, but not everything. It's not perfect.

Death On Two Legs (Dedicated To...) - Great opener with great guitar. It sets the tone of the album. 7/10 Lazing On A Sunday Afternoon - Nice quirky song 7/10 I'm In Love With My Car - Love it or hate it. There's almost no middle ground. 6/10 You're My Best Friend - A great straightforward single. Well crafted. 7/10 '39 - First highlight of the album for me. Great story. Groot track overall 10/10 Sweet Lady - But reminiscent to their earlier work, but not one of their best 7/10 Seaside Rendezvous - Another quirky interlude. Not bad. 7/10 Prophet's Song - Another highlight. This is a bold piece where they show what they are capable of 9/10 Love Of My Life - Yet another great track. Powerful love song 9/10 Good Company - The 3rd quirky track. This gets a bit much 6/10 Bohemian Rhapsody - Their all-time classic 10/10 God Save The Queen - Nice way to close the album 7/10

The album gets a total of 3.5 stars, rounded to 4 because of the classics on it.

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Studio Album, 2018
3.47 | 94 ratings

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The Flower King: Manifesto of an Alchemist
Roine Stolt Symphonic Prog

Review by A Crimson Mellotron
Prog Reviewer

What an unfortunately uneventful and uninspired album this is! The eighth solo studio effort by the leader and founder of The Flower Kings Roine Stolt is sincerely a mess, with loads of boring ideas that are taken nowhere by the otherwise excellent guitar player, songwriter and vocalist. A very interesting cast of guests on this album, including bandmates Hasse Fr�berg and Jonas Reingold, his brother Michael Stolt, a former member of TFK, then-future TFK keyboard player Zach Kamins, as well as Nad Sylvan, Rob Townsend, Max Lorentz and Marco Minnemann - normally with such a stellar lineup expectations would be quite high, also taking into consideration the beautiful cover art.

In reality, this 70-minute recording is an almost painful drag - from the meanderings of the instrumentalists and their seemingly directionless playing on several occasions, more notably on the longer songs, to the hardly memorable riffs and melodies, lacking much of the charisma and imagination that is usually associated with the bands in which Roine Stolt is featured. It has to be said that as a solo record of Stolt, it is fine to see him exploring the sides of his music that he would not have otherwise been able to with, say, The Flower Kings, or The Tangent (although the music is not that dissimilar), but this record is just too full of content that it becomes hard to even categorize it (maybe progressive sleep-inducing blues would be a fitting decription).

A big problem with 'Manifesto of an Alchemist' is the overstretching of the compositions, and a very good example would be the opening track 'Lost America' - a song that could have been much more enjoyable had it not been mixed up with several other ideas that hardly contribute to the overall listening experience, resulting in a mediocre mini-epic, full of wacky lyrics and somewhat tedious playing. The following track 'Ze Pawns' does not get better; In fact, it is even harder to get through as the 'ambient rock' tendency prevails once again, as is the case with the 12-minute 'High Road', another long song that is suffocated from its self-indulgent and directionless nature. 'Rio Grande' and 'The Alchemist' are the two instrumental tracks that are actually interesting and listenable, more experimental and adventurous sonically, but the rest of the album is, unfortunately, almost dreadful.

'Manifesto of an Alchemist' is unnecessarily long, boring, uninspiring, and sounds like a collection of B-sides and leftovers that have been reworked to not very satisfactory results. What could have been a very curious piece of modern prog, is in reality a disappointing addition to the excellent discography of Roine Stolt.

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Live, 2021
3.00 | 1 ratings

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Esk�hl 2020 (Bordeaux-Toulouse-Perpignan)
Magma Zeuhl

Review by alainPP

— First review of this album —
MAGMA is the group born in 1969 led by drummer, composer, singer Christian VANDER who also created the 'Zeuhl' their mother tongue. Avant-prog, rock, jazz, classical, folk, a choir, lyrical singing all assembled by swirling riffs, Christian's always very innovative drums, a bombastic sound that only his faithful servants have access to, yes It's the price to pay. MAGMA does not hide its inspiration from Carl ORFF and John COLTRANE, otherwise MAGMA is apart. This is their 16th live recorded just before the pandemic with forays into flagship titles from the 70s. MAGMA only lives because it has molten musical substance flowing through their limbs.

CD1 takes up three musical fragments with "Theusz Hamtaahk" on the jazzy magmaian madness, a theatrical variation of their almost classical universe and breaks and accelerations of the tempo. "Ẁurdah �tah" more voices, a trance, a timeless classico-jazzy-orchestral piece where improvisation seems the rule but where everything is calculated; note the captivating very progressive keyboards. "M�kan�k D�strukt�ẁ K�mmand�h" on a Teutonic rhythm, mesmerizing cascading voice, Kobaienne trademark; jazz, Al Di MEOLA in the background, nothing can describe their music so I will refer you to the last episode of "Prisoner", the famous 17 where everything goes into a disorganized maelstrom ... well that's what I feel during these standard extracts. CD2 covers "Koba�a" from 1970, one of the flagship titles full of finesse, a good review of their universe with multiple breaks and trance breaks, art music to experience rather than to listen to. "For Tomorrow" detonates with a tribute title to John Coltrane thanks to a cover of McCoy TYNER and a confusing solo by the master. "Auroville" for a piano sweetness at the dawn of music which extends the jazzy-classical foray. "Tr�ller Tanz" ends this live like a fireworks display going in all directions, returning to the Kobaienne base.

MAGMA has therefore released a live pre-covid, molten lava, the sound you have to have heard once in your life to die happy, far from it all. Coltranian jazz, musical lava in abundance, a spirit apart and a vitality still intact, perhaps because of the rhythm of the master in these places. Christian himself says he is going back to war to save us from the world, he is there and still there.

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